“THE DESERT SONG”

Hawera Star, Volume XLIX, 16 November 1929, Page 6

“THE DESERT SONG”

SPECTACULAR, MUSICAL PIECE. The typical features of Fasteru life and character are cleverly and artistically interwoven with those of the Western nations in forming the motif for the story and the circumstances

for the plot that are the groundwork of the romantic and dramatic musical play “The Besert Song,” presented to large and enthusiastic audiences at the Opera House yesterday afternoon and evening by the company headed by Lance Fairfax and Romola Hansen. Throughout there was in evidence the bizarre elfects, the colouring of the skies and the desert of Morocco, and altogether a true presentation of the people of that oft-troubled country with its turbulent Rifjf tribesmen. But intermingled with all this local colouring was the spirit of adventure and daring signalised in the work of the French Foreign Legion, and the rather curious admixture of the girls from Spain and the dancers in ballet from France, wliose attractive combined dancing formed a marked and striking contrast with that of the native girls. The author of the libretto wove all these features very artistically into a story that completely carries away the listeners, while the composer of the music, Sigmund Romberg, aptly wrote arias, duets and choruses that preserved throughout the spirit and the atmosphere of the country in whose borders the plot was cast, and the story of JKove, hate, and adventure carried to a conclusion in wliick true love, whose course never did run smooth, triumphs over all obstacles and in the end gains its reward. “All the world loves a lover” is a saying trite but very true, and when that lover wears a romantics and picturesque costume such as was seen in the character of the “Red Shadow” or the dashing officer' of the Foreign Legion in his sky blue and cherry uniform, and if, in addition, he can appear as the sheik of romance and whirl his lady away on his saddle, then he captures the imagination and the admiration of all who watch the unfolding of the love story, romantic in the extreme, that is shown in this striking musical play. Throughout the dressing and the mounting of the play were brilliantly picturesque. They caught the atmosIphere that is needed to secure a real success. The pictures presented were in many cases feasts of colour and triumphs in effective stage settings. There were many wonderful settings, but undoubtedly the outstanding one was that which showed the breaking of dawn and the gradual coming of day in the desert. These effects were all carefully studied and were a triumph for the designers and the artists responsible for their production. Special mention must he made of the singing of the chorus. It is not always that one finds so many really good and clear voices in all parts. The singing, both of the ladies and of the men, was really good, and the combined effect was' excellent, and, it maj be added, well controlled by the director. In all their work they sang with an abandon and naturalness that were .just as required. Special commendation, t.oo. is due to the conductor (Mr. Cyril Connolly) and his band of orchestral players. They formed a strong and capable combination, capable of a full and rich tone ancT effect, that was used to the utmost advantage when needed, but at the will of the conductor they sank their individuality and played the accompaniments in a way that was artistic to a degree. They were a wonderful help to the performers, and perhaps the greatest compliment that could be paid is to say that their work in accompaniment was marked by its unobtrusiveness. One could always realise that it was there, but only to the point that was essential. 'flic accompaniments formed, as they always should, a “background”! to the .soloist or the chorus, thus fitting into the proper and intended niche in the performance. In this the orliestra was equal to the best heard in Hawera.

The music is curiously and fittingly redolent of the East. Its haunting melodies, varied ever and anon by a spirit oi mysticism and, at times, that strange monotony that marks the national choruses of the people of such countries as Morocco.

The artists selected for the principal roles were for the most part of a high order in musical art. As Pierre Birabeau, the young Frenchman who lias adopted Moorish life and, as the “Red Shadow,” is leader of the hand of Riffs, Lance Fairfax scored a distinct success from his first entry on the stage. This New Zealander has developed much as an actor —liis singing ability was always undoubted—and his natural presentation of the dual character was a. feature of his work. He had the gift of, at will, throwing ofl the type of the Arab leader as he dotted his red costume, and adopting the manner which served him effec-| tively as a disguise in difficult situations. His voice was always attractive and telling and Jus singing marked by artistic effeet. His “Desert Song” was, of course, a great attraction, but he was equally good in the duo section of the song in “One Alone” and the beautiful “Farewell-” Romola Hansen, who portrayed the character of Margot, the piquant little French girl who goes out to meet her lover in Morocco, lias a charming stage presence and is the possessor of a clear, high soprano voice that rings out in hei - solo numbers. Her best number was “Romance,” but she was also excellent in the inarching song and in the introduction to the last scene. With Pierre and the Capitnine Fontaine, in concerted numbers, her voice blended capitally. She showed herself to be a capable actress, and to be able to depict the changes in characterisation demanded by a series

of ever-changing dramatic and tragic scenes The work: of Herbert Brown as Sid Ei Kar, Sidney Bmchall as the j captain, Cecil Pawley as the general, Maud Pomeroy as Nen, and John Ronald: as Hadji, was deserving ol much praise. . The comedy element is in a way extraneous, but it was an integral poi - tion of the story, and Herbert Miuidm as Bennie Kidd, society correspondent of the “Paris Baily Mail,” on service temporarily as war correspondent was amusing in the extreme. With little Susan he was responsible for a series of convulsingly funny scenes, anil they kept the audience in a state of continual merriment while they were on the stage. As Azuri, the native girl in love with the captain, Sonya Bosova gave a good presentation, and lici dancing was very attractive.